Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Micronesia and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1979.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Kings Of Tomorrow to the dance kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Heavy D & The Boyz. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Masters at Work,
Mad Mike,
The Gun Club,
Patti Smith,
Echospace,
Terry Callier,
Siglo XX,
Suburban Knight,
The Fall,
Minor Threat,
The Move,
Liaisons Dangereuses,
Skriet,
Fugazi,
John Cale,
Jeru the Damaja,
Hoover,
JFA,
Kauko Röyhkä ja Narttu,
Crime,
Black Bananas,
Main Source,
The Smoke,
Malaria!,
Mary Jane Girls,
Q and Not U,
Hardrive,
Soft Machine,
Crooked Eye,
Barrington Levy,
Sticky Fingaz feat. Raekwon,
The Doors,
Aloha Tigers,
Robert Wyatt,
The Selecter,
Rod Modell,
Los Fastidios,
Tom Boy,
Funky Four + One,
Yellowson,
Kango’s Stein Massive,
The Saints,
Strawberry Alarm Clock,
Agent Orange,
Skaos,
Idris Muhammad,
The Walker Brothers,
Harmonia,
The J.B.'s,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Warren Ellis,
Pharaoh Sanders and the Fire Engines,
Scrapy,
Heavy D & The Boyz,
The Birthday Party,
Average White Band,
The Zeros,
Model 500,
Wally Richardson,
Michelle Simonal,
The Offenders,
Dave Gahan,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.